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in  2007  witli  funding  from 

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MERCHANTS  IN  SUPPLIES 


^1 


P 


Pliotograpliers'  Booksellers,  Statioiiers, 

AND  NEWSDEALERS. 

Douglass,  Thompson  &  Co, 

229  and  231  State  Street, 

CHICAGO. 


PHOTOGRAPHERS'  BUREAU  OF  INFORMATION, 

MONTHIiT,   FRE£. 


SEND  FOn   CATAZ06UJBS. 


Gayton  a.  Douglass.  Henry  G.  Thompson. 

•5^  ^  vp 


S.  D.  CHILDS  &  CO. 

'TJi-TIOnSTEES. 


■»-»"M"f»4-»-M-*»-»»-»>-»4"f>4-»»»-»>»>-f»-»»-M-4»-*-»»» 


bedding  Invitations,  AnnauncBmBnts, 

-*' Party  and  Calling  Cards,  Crests,  ManDgrams,-)*- 

Bronze  Stamping,  Illuminating,  etc. 

A  VERY  FINE  ASSORTMENT  OF 

Wax  Seals  for  Ladies'  Use  always  on  hand. 

163    DEARBORN    ST.,    CHICAGO. 


Plt^s.  %  Pl,  §itiBmo«, 


•-»5=:  B  O  O I^  S ,  e^*— 


Monthly  Magazines  and  Weekly  Newspapers. 


Frames  of  all  Descriptions. 
346  West  Madison  Street,  Chicago,  Ills. 


JL  rtist  in  ^^ra^otx^   ^f 

i^RTISTIC  PORTRAITS  MiinE  TD    DRDER 


^Bittings  fros3a  Xiife.<. 


Pictures  Copied  from  Photographs,  Tintypes  and  Daguerreotypes. 

ROOM   28,    ELY   BLOCK, 
Cor.  Monroe  St.  and  Wabash  Ave.,      CHICAGO,  ILL. 


E.  LOVEJOY 


«(?,r^eJW5>— 


88  STATE  STREET, 


A   COMPLETE   STOCK   OF 

Photographs  of  Prominent  Men,  Stereoscopes,  Views,  Graphoscopes, 
Etc.,  Etc. 


THE   PDPULAR  IDEAL  HEAES, 

Cojiied  from  Crayon  Drawings,  just  the  thing  for  Crayon  Studies. 


FRAMING  OF  ALL  KINDS  TO  ORDER. 


-».ti3:e-€4- 


Smitlb :  Scliaal  of  Music. 

ELOOBS   a. 


C.  JAir  SMZTS, 


TEACHER  OF  SINGING, 


(Late  of  the  Royal  Academy  of  Muiic,  London.) 


Piano  and  Violin  Lessons  by  Competent  Teachers 

ALSO  AN 

Evenii^g  Class  for  readii^g  Iljusic  at  Siglit. 


MY  ENGRAVED  SCHOOL  CARD 

Is  very  hanleome,  containing  a  copy  of  one  of  Frank  Bromley's 

laat  PainUngs.  with  an  Aoroatio  on  the  wokI  Muaio.  and 

will  be  sent  free  to  any  address  on  application. 


Af  THOR  OF  "Crayon  Portraiture." 


:.f 


^  jirtist  itx  4ILrjiM[0itt.  ;: 


^ra 


Portrait  Work  of  every  Description, 

Including  full  and  half  length  Pictures  with  Scenic 
Baakgraunds,  exBcuted  at  reasDnahle  rates. 

Correspondence  by  Mail  Solicited. 


•>-(5liil(lreii's  •*.•  Pictures  •:•  a  •:•  Specialty<- 


Instruction  in  Crayon  Portraiture  or  Charcoal 
Urawing,  given  in  classes,  private  lessons,  or  at 
pupil's  residences,  both  day  and  evenintj, 

Room  2,  Central  Music  Hall, 
CHICAGO. 


A   DEVICE   FOR   OBTAININQ  A 

Correct  Drawing  from  a  Picture  or  other  Object 

On  an  Enlarged,  Reduced  or  eame  Scale,  and  may  te  used  for 

putting  in  the  Values,  or  Principal  Shades,  without 

having  to  first  make  an  Outline  Sketch. 

•*• 

MANUFACTURED  AND   FOR   SALE   BY 

C.  C.  MINOR  &  CO.,  170  State  St.,  Chicago,  Ills. 

— WSEND  FOB  CIRCULAR,  w— 


hyom  FRANK  RUSSELL  GREEN,  Paris. 

"Tlio  system  of  squaring;  off  a  drawing  for  enlargement  was  much 
nscfl  by  tlie  old  n»a.-ters,  em  you  frequently  see  In  tlie  drawings  by  them 
in  the  F.ouvre,  iind  it  is  also  used  by  the  modern  French  Artists  w  lio 
pjiint  lai-ge  canvftsi<c8  and  wlioso  sketches  for  tlieni  arc  often  on  a  small 
scide.  I  nave  examined  your  Invention  and  think  it  would  be  ver\' 
valuable  to  Portrait  Artists,  as  the  geometrical  accuracy  of  the  method, 
and  the  assistance  of  it  would  be  a  great  saving  of  time." 


From  WILL.  H.  McENTEE,  New  York. 

"  The  Metro8coi)e  I  purchased  of  you  some  time  ago,  has  been  in 
almOHt  daily  use  ever  since,  and  with  entirely  satisfactory  results. 
I  think  as  a  quick  and  reliable  mcani^  of  securing  outline  draw- 
Inga  it  if*  without  a  fault,  and  practical  nllkc  to  the  tkilled  artist  tind 
the  amateur.  Vour  ingonioua  suLdlvislon  of  sciuarcs  Is  espoclallv  con- 
venient, as  I  am  able  to  dispense  with  nil  but  the  Inrgo  squares 
wherever  the  character  of  my  work  will  permit,  and  use  the  smaller 
ones  in  the  complicated  jwrtlons  of  the  «  ork." 


From  LOUIS  MAKXSEN,  (now  Masher  <fe  Marzsen,)  Chicago. 
"  Having  tised  your  squai'ccl  glasses  for  e!ilargin<r,  during  the  past 
year  in  my  portrait  work,  I  consider  them  tlie  best  possible  means  ot 
i-apldly  obtaining  a  correct  outline  from  a  photograpli  or  other  small 
picture."  

From  A.  F.  BROOKS,  Chicago. 
"  All  photographs  are  more  or  less  lengthened  or  broadened  by  the 
stretching  of  paper  in  mounting.  The  paper  being  made  by  machinery 
has  a  gi-ain  running  lengthwise,  and  when  dampened,  like  a  shingle 
will  widen.  It  is  very  noticable  in  some  photographs,  and  usually  in 
old  ones  the  cards  are  lengthened  and  the  cabinet  s  are  broadened,  as  the 
paper  was  cut  to  economise  in  printing.  The  only  way  this  fault 
can  be  remedied  in  a  drawing  is  by  your  system  of  squares,  as  the 
large  squares  can  be  elongated  in  either  direction  to  hit  the  I'ight 
proportion. "  

Fr07n  ALFRED  PA  YNE,  Clucago. 
"  I  cheerfully  commend  the  Metroscope  devised  by  you  to  aid 
the  Artist  in  working  from  the  pliotogi-aph.  By  its  aid  he  can,  with 
certainty,  enlarge  his  model  to  any  size,  and  make  a  correct  copy  by 
preserving  all  its  relative  proportions.  While  doing  this,  he  is  both 
exercising  and  dependent  upon  his  '  eye,'  and  yet  the  combination  ot 
the  squares  of  tl.e  Metroscope  effectually  prevent  errors." 

From  C.  F.  8CHWERDT,  Chicago.  * 

"  I  made  a  trial  ot  the  Metroscope  for  the  drawing  of  a  portrait 
H0x72  inches  of  three  children  in  a  group,  and  found  it  a  most  valuable 
assistance,  ns  I  was  enabled  by  it  to  get  tliedmwing  more  correct  than 
the  photographs,  as  the  pai>er  had  stretched  the  faces  too  wide." 


i'Vow  J.  B.  CROCKER,  ArUhor  of  "Crayon  Portraiture." 
"  Although  the  principle  of  the  Meti-oscope  is  by  no  means  new, 
yet  your  imin-ovements  upon  that  principle  are  so  radical  as  to  virtu- 
ally make  it  a  new  instrument,  iind  really  the  most  desirable  one  in 
the  mai'ket  for  obtaining  a  correct  enlargement." 

From  L.  PRANG,  (L.  Prang  &  Co.)  Boston. 
"  I  heartily  recommend  the  Metroscope  for  Lithographer's  use  in 
their  Portrait  work."  

F)-om  FRED.  BUEHRING,  Editor  "The  Lithograplu^,"  Chicago. 
"  With  the  greatest  pleasure  we  state  that  we  know  of  no  better 
medium  for  an  Artist  to  obtain  a  correct  drawing  than  by  the  means 
of  your  Metroscope."  

From  J.  K.  PUMPELLY,  Chicago. 
"  It  trains  the  eye,  and  should  be  used  in  all  schools." 


% -^^-'     

FIRST-CLASS  GOODS  ONLY. 


■Z*  JE*  MM 

^huriijWatch^JeWelr^ij 

MANUFACTURING  COMPANY, 

77  STATE  STREET,   -   -   CHICAGO,  ILL. 


Make  a  SpeciiUty  of  Muiiufactiiring 

AKMY  AND  SOCIETY  BADGES  AND  ARTISTIC  JEWELRY. 


Tliey  also  have  a  large  Stock  of 

Gold  and  Silver  Watches,   Diamonds,  Jewelry   &c. 

.\T   WHOLESALE   PRICES. 


E.  R.  P.  SHURLY 

Has  personal  supervision  of  the  Watch  Repairing  Department  —a 
guarantee  of  Fine  Work. 


aXND  fOR  ILLUSTRATED  CATALOGUE  AND  PRICE  LIST 


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Thayer  &  Chandler, 


IMI'UBTKBS  ANU    DKAI.KBS  IN 


^Artists'  Materials,i^ 

Drawing  Papers,  Wax  Flower  Goods. 


CRAYON  MATERIALS.  GOLD  FRAMES,  PICTURE   MATS,  ARTICLES 
FOR  DECORATION,  ic,  &c. 

IJo.  46  njadisoQ  Street,  Gliicago. 


AOENT8  FOR   ORAYON  PORTRAITURE.' 


I  Send  for  Illuatrated  CatAlogue  oi  150  Pages.] 


A  COMPLETE 

AND 

COMPREHENSIVE  TREATISE 


ON  THE  ART  OF 


CRAYON  PORTRAITURE, 


IN 

BLACK  AND  WHITE. 


By  J.  B.   CROCKER, 

Teacher  cf  Crayon  and  India  Ink. 


T^IRXaiEl,     $1.50 


CHICAGO,  ILL.: 

THE  JEWKLER8'  JOURNAL,  57  WASHINGTON  ST. 

1884. 


COPYRIGHT,   1884, 

BY 

J.  B.  Crocker  and  Q.  B.  Miller. 


M 


Ubrary 

■  h 

r 

CONTENTS.   =) 

^ 

CUAYON   PORTRAITURE. 

THE   EYES. 

MATERIALS. 

THE  NOSE. 

PAI'EU. 

THE  MOUTH. 

STRETCHERS. 

THE  FOREHEAD. 

CKAYOX  SAUCE. 

THE   FACE. 

THE   PHOTOGRAPH. 

FINISH'G  THE  BACKGROUND. 

THE   ENLARGEMENT. 

FULL   LENGTH   PORTRAITS. 

THE   METROSCOPE. 

SCENIC  BACKGROUNDS. 

THE   PANTOGRAPH. 

LANDSCAPE   DRAWING. 

THE  TRANSFER. 

FIXING. 

LIGHT. 

SUGGESTIONS. 

THE   METHOD. 

POINT  WORK. 

THE   BACKGROUND. 

CHARCOAL   DRAWING. 

THE   DRAPERY. 

AIR  BRUSH. 

THE   HAIR. 

CONCLUSION. 

■^m    INTRODUCTION,  m-^ 


RAWING  was  formerly  looked  iipou  as  an 
liP  accomplishment,  or  as  a  means  of  gratification 
by  which  time  might  be  pleasantly  occupied,  or 
Y^^  the  tastes  and  talents  of  the  artist  displayed.  But 
it  has  become  one  of  the  essential  and  indispen- 
sable features  in  the  education  of  the  present 
generation.  The  pleasures  and  advantages  of  its 
pursuits  were  formerly  enjoyed  by  the  rich  alone,  and  its 
beauties  and  mysteries  never  revealed  except  to  the 
favored  few. 

But  in  the  present  age  Schools  of  Design  and  Acade- 
mies of  Fine  Arts  have  been  opened  in  all  our  large  cities, 
and  even  our  common  schools  are  giving  sj^cial  attention 
to  this  branch  of  study,  until  it  is  almost  within  the  reach 
of  everyone  to  acquire  some  knowledge  and  skill  in  this 
direction.  It  cultivates  habits  of  tastes,  the  appreciation 
of  the  beautiful  in  art,  as  well  as  in  all  the  varied  and 
graceful  forms  in  nature  itself. 


6  CRAYON   PORTRAITURE, 

Beside  being  classed  among  the  accomplishments,  it  has 
already  become  one  of  the  most  profitable  of  employments. 
Thousands  to  day  are  engaged  upon  the  |)eriodical8,  illus- 
trated papers,  art  magazines,  books,  &c.,  which  flood  our 
land  ;  exhibiting  Jiot  only  their  skill  in  this  direction,  but 
contributing  to  others,  beautiful  views  of  natural  scenery 
in  this  and  other  lands ;  the  faces  of  public  and  prominent 
men ;  beautiful  forms  and  designs  for  home  decoration, 
for  the  brush,  the  j)encil  or  the  needle. 

In  fact  e\ery  branch  of  trade  and  industry  desire  and 
find  it  necessary  to  illustrate  the  wares  they  offer  for  sale, 
80  that  drawing  is  indispensable  to  the  practitioners  of 
almost  every  art,  trade,  or  profession. 

Many  hand-books  have  been  published  from  time  to 
time,  treating  of  almost  every  branch  or  department  in 
the  Fine  Arts,  but  as  yet  no  book  of  any  practical  value 
has  ever  appeared  describing  the  method  of  Crayon 
Portraiture  in  black  and  white. 

The  writer  of  this  volume  having  been  engaged  for 
many  years  in  teaching  this  beautiful  art,  at  the  earnest 
solicitations  of  his  pupils  has  consented  to  publish  this 
treatise,  hoping  it  will  prove  valuable  and  useful  to  all  who 
desire,  or  who  would  find  pleasure  in  producing  upon 
canvas  the  human  face  in  its  ever  varying  forms,  features, 
an<l  expressions. 


I 


I 


IN  BLACK  AND  WHITE. 


He  has  endeavored  to  give  careful  and  comprehensive 
instruction,  pointing  out  the  errors  pupils  are  liable  to 
make  at  the  start,  giving  the  simplest  details,  many  of 
which  will  prove  most  useful  to  the  student ;  explaining 
the  entire  method  so  thoroughly  that  any  one  of  average 
intelligence  can,  after  a  little  practice,  learn  to  execute  a 
Crayon  Portrait  of  real  merit. 

That  such  a  book  will  find  a  welcome  the  author  feels 
assured,  and  has  no  hesitancy  in  saying  tliere  are  thousands 
who  will  hail  it  with  delight,  and  gain  from  it  just  the 
knowledge  they  require  to  enable  them  to  achieve  excellence 
in  this  most  beautiful  and  fascinating  accomplishment. 


CRAYON  PORTRAITURE, 


CRAYON  PORTRAITURE. 


^yfO  one  who  knows  [nothing  of  the  art  of  Crayon 
*1J  1  Portraiture  it  seems  not  only  very  difficult,  but 
^f  almost  unattainable.  In  fact,  many  suppose  some 
natural  gift  is  necessary  to  be  able  to  produce  the  human 
features  in  life-like  form  upon  the  canvas.  Such,  however, 
is  not  the  case.  The  writer  has  given  instruction  to 
hundreds  of  pupils,  many  of  whom  are  now  practicing 
this  art  as  a  profession,  and  instructing  others.  Any 
one  who  can  learn  to  write  can  learn  to  draw,  but 
yet  it  is  necessary  to  have  a  special  method  in  order  to 
work  intelligently.  The  author  purposes  to  give  a  series 
of  written  instructions,  which,  if  carefully  followed,  will 
prove  invaluable,  to  all  who  desire  to  achieve  success. 


IN  BLACK  AND  WHITE. 


MATERIALS. 


<i 


NE  of  the  first  and  most  important  factors  toward 
success  is  to  have  the  proper  materials,  and  of  the 
f  very  hest  quality.  Unlike  most  other  branches  of 
Art,  the  materials  for  Crayon  work  are  few  in  number 
and  inexpensive : 

A  Drawing  Board,  about  23x27. 

An  Easel. 

A  Kest  Stick. 

A  piece  of  Chamois. 

One  soft  rolled  Chamois  Stomp. 

One  dozen  small  Paper  Stomps. 

One  stick  of  Square  Oont§  Crayon,  No.  3, 

One  stick  of  Eound  Contd  Crayon. 

One  stick  of  German  Crayon,  No.  2. 

One  piece  of  Cont^  Rubber. 

One  Crayon  Holder,  (brass.) 

A  few  sticks  of  Soft  Charcoal. 

One  dozen  Thumb  Tacks. 

A  Block  of  Wood,  3x5,  covered  with  fine  Sand  Paper. 

A  small  Palette,  covered  with  Chamois. 

A  Stretcher  of  Whatman's  Paper. 

A  sheet  of  Manilla  Wrapping  Paper. 


10  *  CRAYON   POBTRAITURE, 

If  it  is  desirable  to  save  all  unnecessary  expense,  many  of 
these  materials  can  be  of  home  manufacture.  An  inex- 
pensive easel  will  answer  the  purpose  quite  well,  and  a 
small  slender  cane  will  answer  as  a  rest  stick.  The  draw- 
ing board  can  be  obtained  at  any  Art  Store,  or  a  carpenter 
b3  employed  to  make  one  at  a  small  outlay.  The  block  of 
wood  covered  with  fine  sand  paper,  and  the  palette  of_ 
paste-board  covered  with  Chamois  are  easily  made. 

The  former  will  be  found  useful  in  cleaning  and  sharj 
ening  the  rubber  and  paper  stomps.     Another  block  majj 
also  be  made  and  covered  with  fine  emory  paper,  to  be  use 
in  making  a  fine  point  to  the  German  and  Contd  Crayoi 
for  point  work.    The  palette  is  intended  to  be  used  for  th^ 
pulverized  Crayon,  or  Crayon  Sauce,  as  it  is  often  calk 
and  when  not  in  use  should  be  carefully  covered  to  keej 
it  free  from  dust.     The  small  pajxjr  stomps  are  sometime 
called  paperettes,  and  come  in    packages  of  a  dozen  or 
more.     They  will  be  found  very  useful,  and  a  much  morOj 
pleasing  effect  can  be  obtained  than  with  the  Chamoi 
stomp,  especially  upon  the  face.    Avoid  the  hard  paj 
stomps  made  of  pulp ;  they  are  worthless. 


IN   BLACK  AND  WHITE.  11 


THE  PAPER. 


C5T^HERE  are  many  varieties  of  paper  that  can  be  em- 
mm\  J  ployed  for  Crayou  Portraiture.  Among  these  the 
^;  most  used,  are  Whatmans'  Imperial  and  Double 
Elephant,  Eggshell,  Steinbach,  and  the  French  tinted 
papers ;  and  many  fine  eifects  are  produced  upon  them  all. 
Almost  every  Artist  has  a  choice,  therefore  no  rule  can  be 
laid  down  to  be  followed  implicitly. 

The  Whatmans'  is  however  generally  considered  the 
most  desirable.  Do  not  however  attempt  to  use  even  this 
by  tacking  it  to  a  drawing  board,  but  have  it  mounted  on 
a  stretcher.  The  hard  surface  of  the  drawing  board  would 
make  irregularities  in  the  work.  These  stretchers  already 
prepared  can  be  obtained  at  the  Art  stores,  Nvhere  Artists* 
Materials  are  sold.  It  is,  however,  presumed  that  many 
who  read  these  pages  may  reside  so  far  from  such  supplies, 
that  it  may  seem  desirable  to  understand  how  to  make  them 


12  CRA.YON   PORTRA.ITURE, 


TO  MAKE  A  STRETCHER. 


JrJROCURE  a  pine  frame  20x24,  or  any  other  size  de- 
^pl  sired.  Lay  a  sheet  of  Whatmans'  paper  upon  the 
j[f  drawing  board,  with  the  face  side  down,  which  can 
be  distinguished  by  the  water  mark  in  the  pai)er,  by  hold- 
ing it  up  to  the  light.  Dampen  it  with  a  sponge  or  wet 
towel,  going  over  the  entire  surface  of  the  paper ;  i)lace 
the  pine  frame  upon  it,  and  trim  the  edges  of  the  paper 
with  a  sharp  knife  about  one  inch  larger  than  tlie  frame. 
Cut  out  the  corners  also.  With  a  small  brusii  put  a  little 
flour  paste  upon  the  paper  beyond  the  frame,  and  also 
upon  the  edges  of  the  frame. 

Next  with  the  fingers  turn  up  the  paper  upon  the  edges 
of  the  frame  as  smoothly  as  jx)3sible,  drawing  out  the  larger 
wrinkles.  Having  turned  all  the  edges  up,  take  up  the 
frame  carefully,  and  gently  draw  each  of  the  four  sides 
one  after  the  other,  from  the  centre  toward  the  corners, 
and  note  that  it  adhers  firmly.  It  is  not  necessary  to  draw 
it  so  tightly  that  it  looks  perfectly  smooth,  as  if  drawn  too 
tightly  it  would  split ;  the  smaller  wrinkles  will  all  disap- 


IN   BLACK   AND   WHITE. 


13 


pear  when  it  is  thoroughly  dry.  Put  this  away  in  a  cool 
room,  not  by  the  fire,  and  in  a  few  hours  it  will  be  ready 
for  use. 

Care  should  be  taken  not  to  rub  the  paper  on  the  side 
upon  which  the  drawing  is  to  be  made.  Avoid  also  putting 
the  fingers  on  the  face  of  the  paper,  as  this  would  occasion 
spots,  causing  injury  to  the  work. 


14  CRAYON   PORTRAITURE, 


CRAYON  SAUCE. 


4 RAYON  Sauce,  or  Pulverized  Crayon,  is  made  in  the 
following  manner:  Take  a  stick  of  tlie  No.  3 
square  crayon,  and  rub  it  on  a  piece  of  sand  pajier, 
or  a  file,  holding  it  over  the  palette,  and  allowing  the  fine 
crayon  thus  made  to  fall  upon  the  chamois  palette.  Make 
quite  a  little  quantity  of  tlii^  upon  different  parts  of  .the 
palette.  Avoid  having  any  little  pieces  of  the  crayon  chip 
off,  or  if  they  do,  grind  them  up  by  phvcing  the  crayon 
stick  upon  them  and  crushing  them.  Make  this  sauce  as 
fine  as  possible.  Next  take  a  paper  stomp  and  mix  or 
grind  the  sauce  until  the  palette  is  thoroughly  saturated, 
and  it  is  ready  for  use. 


IN   BLACK   AND   WHITE.  16 

THE  PHOTOGRAPH. 

/j|\R  subject  to  be  copied,  should  be  the  next  consid- 
^JCI  eration.  It  seems  necessary  to  give  a  little  advice 
^1      upon  this  selection  : 

Do  not  attempt  to  copy  a  wood  cut,  they  are  often 
faulty  in  drawing,  are  almost  always  flat;  the  copy  would 
be  very  unsatisfactory,  and  possibly  discourage  you  from 
further  attempts. 

Neither  attempt  for  a  first  picture  to  copy  a  tin-type, 
or  a  very  small  card  de  visile.  It  would  be  more  difficult 
to  get  a  correct  enlargement,  and  the  shadows  would  not 
be  plainly  defined. 

A  photograph  from  an  ideal  head  would  be  the  best 
selection  one  could  make  for  the  first  attempt.  First, 
because  they  are  copies  from  a  good  crayon  drawing,  and 
present  the  grain  effect  that  is  so  desirable ;  second,  the 
result  would  be  pleasing  even  if  the  exact  likeness  had  not 
been  attained. 

This,  however  is  optional  with  the  student,  but  by  all 
means,  if  the  subject  selected  is  to  be  a  family  portrait, 
select  a  good  cabinet  size  photograph,  one  strongly  defined, 
and  properly  lighted,  and  the  result  will  be  satisfactory. 


10  CRAYON    PORTRAITURE, 


THE  ENLARGEMENT. 


^  ""f  AN  Y  artists  use  Solar  Prints,  and  the  working  them 
up  has  been  carried  to  considerable  perfection. 
\\j  Certainly  they  can  be  finished  with  more  rapidity, 
as  they  save  much  labor  in  sketching  the  outline,  and 
it  is  much  easier  to  obtain  a  correct  likeness.  The  artist 
has  merely  to  give  the  crayon  tint,  strength  and  roundness, 
witli  a  little  point  work  in  the  way  of  finish,  and  the  por- 
trait is  complete.  But  such  crayons  are  becoming  more 
and  more  unpopular,  since  the  public  have  learned  what  the 
process  is,  and  an  artist  who  works  over  solar  prints 
exclusively,  does  not  take  rank  with  those  who  make  a 
pure  crayon  portrait.  They  will  always  fade  more  or  less 
when  exposed  for  some  time  to  the  liglit,  or  turn  a  reddish 
tint  and  after  a  few  years  are  worthless,  but  a  pure  crayon 
never  changes. 

The  author  is  aware  the  above  advice  will  meet  with 
opposition  from  all  copying  houses,  and  such  as  persist  in 
working  over  solar  prints,  but  the  facts  are  the  same,  and 
should  be  fairly  stated.    To  such  as  may  prefer  to  work 


I 


IN  BLACK   AND   WHITE.  17 

them,  the  method  described  in  this  volume  will  be  ap- 
plicable. 

There  are  several  ways  of  making  the  enlargement.  A 
solar  print  may  be  obtained  and  used  for  tracing,  by  black- 
ing the  back,  and  tracing  with  a  stylus,  as  described  later  on. 

Another  method  is  by  procuring  a  negative  from  the 
photograph,  a  magic  lantern  used,  throwing  the  picture 
upon  the  stretcher  the  desired  size,  and  tracing  the  outline 
in  tlie  dark,  with  a  piece  of  charcoal,  after  which  it  can  be 
finished  up  by  the  photograph. 

In  either  or  all  cases,  draw  the  outline  upon  a  piece  of 
mauilla  wrapping  paper,  in  order  to  make  all  necessary 
corrections  or  alterations  before  transferring  it  upon  the 
stretcher. 

There  is  a  system  of  squaring  off  a  picture  for  enlarge- 
ment, wliich  was  much  used  by  the  old  masters,  and  is 
used  to  a  great  extent  among  the  artists  of  to-day.  It 
consists  in  dividing  the  picture  to  be  copied  into  squares  of 
equal  size,  and  drawing  squares  upon  the  canvas  or  paper 
as  much  larger  as  the  desired  drawing  is  to  be  larger  than 
the  picture  to  be  copied.  Then,  whatever  is  seen  in  each 
square  in  the  smaller  picture,  is  to  be  drawn  in  the  corres- 

()onding  square  upon  the  paper  for  the  enlargement. 
I   For  Portrait  Artists  the  system  in  its  simple  form  is 
lot  altogether  practical,  for  the  accuracy  required  in  their 


18 


CRA.YON   P0RTRA.1TURE, 


work,  would  iiecessitatx}  the  use  of  a  large  number  of  small 
squares,  making  the  work  too  laborious  and  confusing  to 
justify  its  very  extensive  use. 

Other  objections  might  also  be  brought  to  notice,  but 
an  instrument  overcoming  all  objections  to  this  metliod  of 
enlargement,  has  been  devised,  and  termed  the  Metroscope. 


IN  BLACK   AND   WHITE.  19 


THE  METROSCOPE. 


-^HFi  meaning  of  this  term  is  a  measured  view.  It 
Vij  comprises  several  series  of  squares  engraved  upon 
Afly'  tiie  finest  plate  glass  by  machinery,  thereby  being 
perfectly  accurate  and  durable-  The  two  plates  of 
glass,  (of  which  one  form  of  the  instrument  consists),  are 
ruled  for  convenience  with  squares  differing  in  size.  These 
are  framed  and  held  together  by  thumb  screws,  allowing 
sufficient  space  between  them  for  inserting  and  securing  a 
picture  of  the  size  of  a  cabinet  photograph,  which  bring 
the  Hues  into  perfect  contact  with  all  parts  of  the  picture, 
giving  the  appearance  of  the  lines  being  actually  drawn 
upon  the  picture.  One  feature  of  this  instrument  which 
renders  the  square  system  the  most  practical  for  general 
use,  consists  of  the  division  and  sub-division  of  the  squares 
by  finer  dash  and  dotted  lines.  The  eye  more  naturally 
divides  a  line  or  space  into  halves  and  quarters,  than  any 
other  proportions,  and  for  this  reason  the  dasii  lines  have 
been  designed  for  quartering  the  main  squares,  and  the 
dotted  lines  for  quartering  the  squares  thus  formed.  Tliis 
gives  sixteen  times  as  many  squares  for  use  as  are  drawn 


20  CRAYON  PORTRAITURE, 

upon  the  paper,  or  are  seen  upon  the  glass  at  a  little  dis- 
tance, and  therefore  will  not  canse  any  annoyance  when 
the  main  or  quarter  squares  only  are  desired  to  be  used. 

The  benefit  derived  from  this  combination  is  the  per- 
fect ability  of  the  draughtsman,  with  a  little  practice,  to 
begin  immediately  to  put  m  the  values  or  principal  shades 
of  the  picture,  without  having  to  make  the  entire  outline 
of  the  drawing.  A  mere  outline  in  the  first  place  belongs 
only  to  drawing  in  proportion,  and  not  in  projection,  as  the 
shadows  determine  the  latter.  At  a  glance  the  form,  size, 
depth  and  location  of  shadows  are  seen  in  relation  to  the 
squares  of  the  instrument.  Their  location  ujwn  the  paper 
is  determined  by  the  main  squares  drawn  upon  it,  and 
other  properties  by  means  of  the  small  squares.  Where 
the  greatest  accuracy  and  most  detail  is  required,  lines 
forming  the  smallest  squares  may  be  drawn  in  at  such 
places  as  are  deemed  necessary. 

As  many  photograpiis  stretch  in  the  process  of  mount- 
ing in  one  direction  more  than  the  other,  causing  faces  to 
appear  either  too  long  or  too  wide,  this  distortion  should 
be  corrected  in  the  enlargement.  When  it  is  tiscertained 
in  what  direction,  and  to  what  degree  a  picture  is  stretchal, 
the  scjuares  may  be  made  longer  in  an  opposite  directioi 
upon  the  paper,  to  correct  this  distortion. 

An  ordinary  cylindrical  lens;[may  be  used  in  de 


J 


IN  BLACK  AND  ^VHITE. 


21 


mining  in  what  direction  and  to  what  degree  a  face  is 
distorted. 

The  L  or  Differential  Square  has  been  devised  to  be 
used  for  squaring  off  the  paper.  It  is  of  great  assistance 
in  rapidity  and  accuracy,  and  may  also  be  adjusted  to  ex- 
tend or  contract  the  squares  sufficiently  to  correct  what- 
ever distortion  may  exist  in  a  photograph. 


CRAYON   PORTRAITURE, 


THE  PANTOGRAPH. 


Cy  HIS  machine  for  enlarging  or  reducing  pictures  and 
^1  I  drawings  was  said  to  have  been  invented  in  1603, 
^^  but  it  has  since  undergone  many  modifications  and 
improvements.  It  consists  of  four  metallic  or  wooden  bars 
or  rules,  each  rule  being  perforated  with  a  series  of  holes 
by  which  they  can  be  connected  together  by  means  of 
thumb  screws.  It  is  i)rovided  with  a  tracing  and  a  marking 
point,  and  a  screw  or  point  which  is  forced  into  the  draw- 
ing board  to  hold  the  instrument  in  position. 

Tiiey  are  usually  numbered  from  1  to  20,  on  the  four 
bars  indicating  sizes.  There  are  a  great  variety  of  tliese 
instruments  for  sale,  and  many  of  the  cheaper  ones  are 
wortidess,  the  holes  not  being  placed  in  the  right  position. 
The  cheap  instruments  which  sell  for  twenty  cents  may  be 
clas.=ed  among  the  number.  For  about  t'2.00  a  good 
pantograph  can  be  purciiased  at  the  Art  Stores,  and  with 
projier  care  it  will  last  a  lifetime,  and  always  be  at  hand 
whenever  an  outline  is  desired. 

The  thumb  screws  wiien  placed  in  the  number  in  one 
bar  should  always  correst)ond  with  the  number  on  the  opi>o- 
site  one,  otherwise  a  distorted  outline  would  be  the  result. 


IN   BLACK   AND   WHITE.  33 

111  enlarging  from  a  very  small  picture  as  a  card  photo- 
graph, the  higher  uunibers  will  be  required,  say  15,  17,  or 
even  18.  But  Cabinet  or  Imperial  photographs  can  usually 
be  enlarged  to  life-size  by  using  the  numbers  of  12  or  14. 

To  use  the  instrument,  select  the  number  desired,  secure 
it  to  the  drawing  board  at  the  left  hand  side,  place  a  piece 
of  nianilla  wrapping  paper  at  the  other  end  of  the  board 
and  secure  it  with  thumb  tacks.  Next  place  the  marking 
point  in  the  centre  of  the  paper,  after  which  place  the 
photograph  under  the  indicating  point  in  the  centre  also, 
and  secure  it  to  the  board.  This  indicating  point  should 
always  touch  the  photograph,  and  if  it  does  not,  place  a 
little  weight  on  the  instrument,  a  silver  half  dollar,  or  if 
this  is  not  sufficient  add  a  few  smaller  coins,  until  this 
point  just  touches  the  photograph. 

Now  guide  the  instrument  by  taking  hold  of  the  mark- 
ing point,  but  watch  the  tracing  point.  In  this  manner 
go  over  the  entire  photograph,  putting  in  as  many  of  the 
details  as  may  seem  necessary,  indicating  the  position  of 

I  the  shadows,  the  folds  in  the  drapery,  the  masses  in  the 
hair,  and  all  other  features,  until  a  perfect  enlargement  is 
the  result. 
This  can  now  be  transferred  to  the  stretcher  as  follows : 
I 


24:  CRAYOX   PORTIIAITURE, 

THE  TRANSFER. 


[HEN  the  outline  is  finished  and  all  oorrectious 
made,  rub  the  back  of  the  paper  over  with  a  piece 
7"T^  of  charcoal,  covering  it  thoroughly;  shake  it 
slightly  that  the  fine  particles  may  fall  off,  then  place  it 
carefully  on  the  stretcher.  Measure  the  distance  from  the 
side  of  the  head  and  shoulders  on  each  side,  as  well  as  the 
top  and  bottom,  and  when  the  drawing  is  in  the  centre  of 
the  stretcher,  or  in  the  proper  position,  secure  the  four 
corners  to  the  stretcher,  by  means  of  thumb  tacks,  or  little 
weights,  that  it  may  not  slip  while  tracing  it.  Next  take 
a  stylus  or  a  hard  and  sharp  lead  i)encil,  and  bearing  on 
gently,  trace  over  all  these  outlines  again,  following  them 
very  accurately,  and  omitting  none.  Remove  the  thumb 
tacks,  lift  the  paper  off  gently,  and  a  jierfect  outline  of 
the  original  will  be  found  upon  the  stretcher.  This  out- 
line being  simply  charcoal,  will  rub  off  with  the  slightest 
touch,  and  thus  be  destroyed ;  therefore  place  the  stretcher 
upon  the  easel,  and  with  one  of  the  small  pa|>er  8tomi)8 
slightly  blackened  in  the  crayon  sauce,  go  over  all  these 
outlines  once  more  very  lightly,  in  order  nbt  to  lose  them 
while  at  work  upon  the  portrait.  Do  not  make  these  lines 
hard,  or  thoy  will  show  wiien  the  picture  is  finished,  and 
thus  spoil  the  effect  of  the  work. 


IN  BLACK  AND  WHITE. 


25 


LIGHT. 

C5rO  work  to  the  best  advantage  proper  light  is  necessary. 
^1  I  A  north  light  is  considered  the  most  desirable. 
^i  Place  the  easel  in  such  a  position  by  the  window 
as  to  allow  the  light  to  fall  upon  the  stretcher  from  the 
left  side.  There  is  one  advantage  however  in  crayon  work 
over  oil  or  water  colors,  and  that  is  it  can  be  executed  in 
the  evening  under  a  strong  light  equally  as  well. 


26  CRAYON   PORTRAITURE, 


THE  METHOD. 


/jj\NE  of  the  first  steps  in  all  branches  of  art  Kork  is  to 
^1  /  P"^  ^'^  ^^^^  values  ;  that  is  the  darker  sli ado ws.    Pay 

\  no  attention  to  the  high  lights,  they  "will  take  care  of 
themselves.  It  may  be  well  to  state  now  the  necessity  of 
working  at  all  times  and  upon  all  parts  of  the  picture  very 
lightly,  as  hard  rubbing  will  produce  a  muddy  effect.  The 
ligiiter  the  touch  the  more  transparent  and  beautiful  the 
result. 

Take  one  of  the  paper  stomps,  put  it  in  the  brass 
holder,  rub  it  thoroughly  in  the  crayon  sauce,  twisting  it 
around  until  it  is  entirely  covered  vrith  the  sauce,  on  the 
}K)intand  tapering  end  ;  apply  this  first  to  the  pnpils  of  the 
eyes,  the  nostrils,  and  the  line  through  the  centre  of  the 
mouth.  Next  with  a  broad  stroke  (not  a  sharp  one)  to  the 
lids  of  the  eyes,  the  dark  shades  in  the  ears,  and  the  eye- 
brows, following  the  outlines  very  carefully.  The  stomp 
having  now  cleaned  itself  somewhat  is  ready  for  the  values 
in  the  face.  In  applying  it  to  these  shadows,  do  not  use 
the  jX)int  as  you  would  a  jiencil,  but  rather  broa<l  strokes. 


IN  BLACK  AND  WHITE.  27 

Tint  the  iris  of  the  eyes,  the  shadows  under  the  eyes,  the 
curve  in  the  nose  and  around  the  nostrils.  Do  this  in  little 
short  strokes  in  one  direction  first,  parallel  to  each  other, 
afterwards  crossing  them  at  an  acute  angle,  never  at  right 
angles.  The  shades  in  the  cheeks  and  forehead  are  next 
in  order,  in  the  same  manner.  The  work  will  appear 
rough  and  spotty  at  first,  but  these  values  are  necessary. 
The  cleaning  up  will  be  described  later  on.  In  shading 
the  cheeks  commence  each  stroke  at  the  outline,  working 
inwardly,  and  these  may  be  curved  slightly,  hatching  in 
the  same  manner  at  an  acute  angle  boldly,  yet  so  lightly 
that  real  lines  are  avoided.  Look  the  face  over  thoroughly 
and  put  in  all  the  darker  shades,  but  not  as  strong  iis  they 
will  be  required,  as  the  work  will  look  more  transparent 
by  gradually  strengthening  them,  rather  than  in  attempt- 
ing to  produce  the  proper  strength  at  first. 

Next  put  in  the  values  of  the  hair,  not  in  fine  Imes,  but 
[in  broad  strokes  with  the  chamois  stomp,  but  in  this  there 
[should  be  no  hatching.  Make  all  the  strokes  in  the  direc- 
tion in  which  the  hair  is  combed.  Leave  the  high  lights 
as  in  the  face,  for  the  present.  "Watch  the  photograph 
closely,  and  put  them  on  in  the  right  place.  In  putting 
on  any  and  all  of  these  darker  shades,  either  in  hair,  face, 
or  drapery,  always  commence  at  the  darkest  part  of  such 
shadows  and  let  the  stomp  move  in  the  direction  of  the 


28  CRAYON   POIMKAITUUE, 

lighter.  Now  turn  to  the  drapery.  A  black  broadcloth 
coat,  or  a  silk  dress,  should  be  worked  iu  tlie  same  inauner 
except  it  may  be  tlie  latter  can  be  finished  a  trifle  finer. 
The  drapery  may  be  worked  up  with  the  chamois  or  paper 
stomp.  The  method  of  work  is  the  same,  as  above  des- 
cribed ;  short  broad  strokes  crossing  at  an  acute  angle. 
Be  careful  not  to  make  the  strokes  all  one  way. 

In  ending  off  the  drajiery,  great  care  must  be  observed 
to  have  it  grow  lighter  and  lighter  until  it  is  lost  entirely. 
It  must  not  have  the  appearance  of  being  cut  off  abruptly. 

The  background  shoukl  be  worked  up  in  the  same 
manner  as  the  coat,  only  not  so  dark.  Or  it  can  be  put  in 
with  the  chamois  pad,  slightly  tinted  with  the  crayon  sauce, 
and  applied  with  a  circular  motion,  commencing  at  the  coat 
and  face,  and  working  away  from  them,  gradually  growing 
lighter  and  lighter,  having  no  abrupt  ending.  Never  make 
the  background  around  the  entire  head  in  a  bust  picture, 
even  if  the  subject  has  gray  hair  this  is  not  necessary ;  it 
will  have  too  much  of  a  photographic  appearance.  Make 
the  darkest  background  next  to  the  highest  light  of  the 
face.  Artists  differ  very  much  in  opinion  upon  the  subject 
of  backgrounds,  and  almost  every  one  has  a  style  of  their 
own.  Again  nearly  every  portrait  requires  a  different  one, 
but  generally  all  that  is  necessary  is  a  light  transparent 
atmosphere,  varying  in  depth  to  suit  the  subject.     A  strong 


IN  BLACK  AND  WHITE. 


29 


face  well  defined,  and  with  dark  hair  and  eyes,  will  bear  a 
stronger  background  than  one  of  a  little  child. 

The  drawing  now,  if  the  above  directions  have  been 
followed  carefully,  has  all  the  values,  or  principal  shadows 
in  their  proper  places.  The  next  steps  to  be  taken  will 
improve  its  appearance. 


30  CRAYON   PORTRAITURE, 

THE  DRAPERY. 


C5r  HE  drapery  should  receive  its  finishing  touches  first 
^m\  J  in  order,  leaving  the  face  for  the  last.  Take  the 
^i  chamois  stomp,  using  the  cleanest  end,  and  borrow- 
ing color  from  the  values,  sweep  it  gently  and  lightly  across 
the  high-lights,  in  different  directions,  crossing  them 
occasionally  as  previously  described.  Note  the  subject 
carefully  and  follow  the  modeling,  to  give  the  proper 
roundness,  in  the  lappels  of  the  coat,  or  folds  in  tlie  dress. 
Having  borrowed  from  the  values,  they  may  now  need 
strengthenifig  again.  If  the  work  thus  far  is  very  uneveii 
take  the  cont^  rubber  with  a  fairly  sharp  point,  and  clean 
off  the  larger  spots,  using  the  rubber  in  the  same  nninner 
as  the  stomp,  hatching  over  these  sjwts  until  the  entire 
drapery  is  comparatively  even,  and  of  one  general  tone, 
darker  toward  the  shoulders  and  neck,  and  ending  very 
lightly  if  the  subject  be  a  vignette,  otherwise  of  course 
cover  the  whole  in  imitation  of  the  original.  But  bust 
portraits  should  always  be  vignetted.  Details  are  not 
required  in  drapery,  except  j^erhaps  the  part  nearest  tli' 
face,  as  the  collar,  necktie,  or  other  neck   trinnninL^ -. 


IN  BLACK  AND  WHITE.  31 

Neither  attempt  to  imitate  too  closely  the  different  styles  of 
materials  composing  the  same,  except  it  may  be  in  the 
forms  of  the  folds,  and  the  manner  in  which  the  light 
strikes  them.  By  observing  this  rule  it  will  not  be  difficult 
to  decide  of  what  material  the  drapery  is  composed. 

To  produce  the  effect  desired  the  paper  stomp  should 
be  used.  Commence  with  considerable  color,  in  the 
strongest  shades  first,  hatching  in  short  strokes,  tolerably 
open,  but  not  too  much  so.  This  produces  a  light  and 
transparent  appearance.  It  also  gives  depth,  enables  one 
to  look  into  them,  which  would  not  be  the  effect  if  rubbed 
in  too  hard  and  closely.  The  entire  drapery  should  be 
worked  up  in  this  manner,  using  the  rubber  to  clean  off 
the  spots,  filling  up  the  lighter  places  with  the  stomp 
whenever  required,  and  strengthening  the  extreme  shadows, 
where  they  require  it,  by  adding  more  color  to  the  stomp. 
Do  not  leave  the  outlines  of  the  shoulders  too  sharp,  but  go 
a  little  beyond  them  lightly  to  produce  a  soft  and  natural 
effect. 

Study  the  original  and  you  will  notice  generally  a  shade 
on  the  collar,  and  shirt-front ;  put  these  in  evenly  with  the 
paper  stomp.  Lace  work  should  not  be  followed  with  too 
mucli  detail,  but  made  somewhat  indistinctly,  with  a  piece 

If  chamois  slightly  tinted,  taking  out  the  whiter  spots  or 
gures  with  the  rubber,  working  for  a  general  effect,  as  to 
I 


32  CKAYON  PORTRAITUKE. 

the  design  of  the  figure,  having  it  as  a  whole  very  delicate 
and  soft.  Many  artists  use  white  crayon  in  lace  or  em- 
broidery work,  but  it  is  gradually  going  out  of  use.  If  a 
very  strong  white  is  required  in  any  part  of  the  drapery, 
or  lace,  and  the  rubber  is  not  effectual  in  removing  the 
crayon,  take  a  very  sharp  knife  and  scrajie  the  paper  until 
the  proper  effect  is  produced. 

If  after  following  all  these  instructions  the  drapery 
does  not  appear  quite  as  even  or  regular  as  may  seem 
desirable,  take  the  round  cont^  crayon,  and  sharjien  one 
end  of  it  to  a  very  fine  point,  place  it  in  the  brass  holder, 
and  go  very  lightly  in  little  short  strokes  over  the  imperfect 
places,  until  the  appearance  is  satisfactory. 


IN   BLACK   AND   WHITE.  SS 

THE  BACKGROUND.     . 


CSr  HIS  should  next  claim  attention,  and  should  bo 
^J  I  worked  up  in  precisely  the  same  manner  or  method, 
^i  as  described  in  the  drapery,  only  not  as  dark,  except 
the  subject  should  have  a  white  dress,  then  this  rule  should 
be  reversed.  This  subject  however  is  almost  inexhaustible. 
The  face  is  what  should  first  attract  the  eye  in  a  portrait, 
and  anything  which  detracts  from  that,  will  injure  the 
general  effect,  whether  it  be  an  elaborately  finished  collar, 
or  pin,  or  a  striking  back-ground.  Bear  in  mind  that 
every  other  part  of  the  picture  is  merely  an  accessory  to 
the  face,  and  therefore  shall  not  have  undue  prominence. 
If  the  picture  be  a  Kembrandt  it  will  bear  a  strong 
back -ground  upon  the  side  of  the  face  where  the  light  is 
strongest,  while  upon  the  darker  side  it  should  be  lighter. 
Cloud  rifts  make  a  very  pretty  and  effective  back-ground 
for  some  subjects,  but  the  outer  and  upper  sides  must 
always  fade  away  with  the  utmost  delicacy.  A  very  sharp 
point  may  be  used  in  cleaning  up  a  back-ground  if  found 
necessary  to  give  it  an  even  tone.  A  few  pictures  will 
bear  a  solid  black  back-ground.  This  is  made  by  first 
going  over  the  entire  surface  of  the  paper  or  stretcher 
3 


84  CRATOK   PORTRAITURE, 

around  the  picture,  with  a  pad  of  chamois  moderately 
blackened  with  the  sauce,  after  which  take  the  square  contd 
crayon  No.  3,  place  it  on  the  broad  flat  surface  of  the  side, 
and  rub  with  a  circular  motion  until  the  paper  will  hold 
no  more.  Then  with  the  two  fingers  of  the  right  liand  go 
over  it  with  the  same  circular  motion  until  the  surface  is 
one  unbroken  mass  of  black.  Be  careful  not  to  overrun 
the  outlines  and  get  spots  on  the  face  or  drapery.  Repeat 
this  if  necessary  until  the  proper  depth  is  produced. 

Another  method,  if  a  greyish  tint  is  desired,  is  to  pro- 
ceed as  above  with  tlie  black  crayon,  after  which  take  a 
piece  of  soft  white  crayon,  place  it  upon  the  stretcher  in 
the  same  manner  and  proceed  to  rub  this  over  the  black, 
afterwards  blending  it  with  the  fingers  as  before,  and  the 
result  will  be  a  grey,  varying  in  shade  in  projK)rtion  to  the 
predominance  of  the  wiiite  or  black.  All  such  backgrounds 
however  are  easily  injured,  and  should  be  framed  and 
placed  under  the  glass  as  soon  as  possible. 

The  subject  of  Scenic  or  Laiidscape  backgrounds  will 
be  treated  under  its  respective  head. 


IN  BLACK  AND  WHITE,  35 


THE  HAIR. 


(N  shading  the  hair  only  use  the  stomp  in  one  direc- 
tion, or  back  and  forth  if  the  crayon  does  not  adhere 
to  the  paper  well,  and  the  effect  will  be  seen  at  once. 
Endeavor  to  give  the  soft  flow  which  hair  should  have. 
Avoid  all  lines,  or  any  attempt  to  make  individual  hairs, 
as  this  would  cause  hard  and  wiry  appearance,  and  destroy 
the  softness  and  beauty  of  the  picture. 

Hair  is  best  re|)resented  as  it  is  in  natu  e,  in  locks  and 
masses.  Borrow  from  the  darker  shades,  and  tint  over 
the  hii^h  lights  with  the  chamois  stomp,  a  little  darker 
than  necessary,  and  afterwards  take  out  these  high  lights 
with  the  broad  surface  of  the  rubber.  It  may  be  found 
necessary  to  use  the  paper  stomp  before  obtaining  the  proper 
finish,  especially  in  working  around  the  ou.side  or  outline 
of  the  head  to  complete  its  softness. 

The  color  of  the  hair  can  only  be  represented  by  the 
different  dejjrees  of  slnule.  White  hair  can  be  made  ex- 
ceedingly soft  by  U3ui»  very  little  color,  and  doing  most  of 
the  work  with  the  rubber. 

Mustache  or  whiskers  are  made  in  the  same  manner,  in 


36 


CRAYON   PORTRAITURE, 


masses,  taking  out  the  liigli  lights  with  the  rubber.  Occas- 
sioually  a  few  Hues  or  single  hairs  may  be  put  on  with  tiie 
point,  both  in  the  hair  or  tlie  whiskers,  when  the  picture  is 
nearly  finislied,  but  all  such  must  be  put  in  very  sparingly. 
The  drapery,  background,  and  hair  are  supposed  to  be 
complete,  excepting  possibly  a  few  finishing  touches  in  the 
final  softening  effect. 


IN  BLACK  AND  WHITE.'  37 


THE  EYES. 


C5p  AKE  the  paper  stomp  slighly  tinted  with  color,  and 
^1  I  proceed  to  finish  the  eyes.  Bear  in  mind,  the 
^^^  method  of  applying  this  to  all  parts  of  the  features 
should  be  in  short  strokes,  very  lightly  crossing  them  at 
an  acute  angle,  using  care  not  to  have  them  too  oblique, 
and  never  at  right  angles.  Begin  with  the  upper  lids, 
darken  them  slightly,  and  working  upward  and  away  from 
them  toward  the  eyebrows.  Strengthen  the  papil  all  that 
is  possible,  and  proceed  to  tint  the  iris,  making  the  upper 
part  of  it  darker  in  shade  than  the  lower,  as  there  is 
always  a  shadow  cast  upon  it  by  the  eyelid.  The  lower 
lid  should  not  consist  of  a  line,  it  is  formed  by  the  shading 
above  and  below  it.  Study  very  carefully  the  original 
picture,  and  note  all  the  peculiarities  of  form  and  expres- 
sion. Leave  the  catch  lights  in  their  proper  places  if 
possible.  This,  however,  is  optional,  as  they  can  easily  be 
made  after  they  eyes  are  finished  by  scratching  them  with 
a  knife ;  or  they  can  be  put  in  witli  Chinese  White  on  the 
tip  of  a  brush.  Darken  the  corners,  and  tint  very  lightly 
the  ball,  this  should  never  be  left  perfectly  white.  If  during 


38  CEA.YON   PORTRAITURE, 

the  work,  any  part  becomes  too  dark,  or  spots  are  left, 
lighten  such,  and  take  off  the  spots  with  the  rubber. 

The  eyebrows  should  be  put  on  in  the  same  manner  as 
the  hair,  but  be  careful  to  tone  them  down  to  the  proper 
depth  gradually,  and  preserve  the  form  or  shape.  Next 
take  a  clean  paper  or  chumois  stomp,  and  pass  it  smoothly 
and  broadly  back  and  forth  over  the  lids  of  the  eyebrows, 
going  a  little  beyond  the  latter  on  the  forehead.  This 
tends  to  give  softness,  and  blends  these  shadows  off  into  or 
toward  the  hiuh  lights,  thus  giving  the  roundness  desired. 
In  the  iris,  there  should  be  op|)Osite  the  catch  light,  a 
lighter  tone  called  reflected  light;  the  remainder  of  the 
iris  should  be  shaded  to  a  greater  or  less  degree,  according 
to  the  subject.  'J'he  pupil  can  now  be  strengthened  by 
using  the  cont^  crayon  point,  making  it  a  very  deep  black. 


«M5N^©^^S)/- 


Q^ 


IN  BLACK  AND   WHITE.  39 


THE  NOSE. 


C5r  HERE  should  always  be  a  dark  shadow  under  the 
^J  I  eyebrows  toward  the  nose;  borrow  from  this  to 
^^  shade  the  sides ;  put  in  the  nostrils,  using  care  to 
have  them  the  proper  shape,  but  not  quite  so  large  as  the 
outline,  as  the  remainder  will  work  into  a  half  tone  when 
blending,  and  give  the  proper  roundness.  Work  away 
from  them  now  and  give  the  curves  to  the  lower  part  of 
the  nose,  and  blend  the  nostrils  until  the  proper  shape  is 
produced.  Carry  up  the  tones  toward  the  eyes  and  off 
slightly  toward  the  cheeks. 

Remember  if  a  wrong  movement  is  made,  or  too  much 
color  put  on,  the  rubber  will  soon  restore  it  to  its  i)roper 
tint.  Leave  the  easel  occasionally  and  view  the  work  from 
a  little  distance. 

In  all  well  lighted  photographs,  one  side  of  the  face  is 
in  stronger  shadow  than  the  other,  this  must  be  noticed  in 
shading  the  nose,  and  if  carefully  executed  and  well 
modeled  the  nose  will  appear  to  stand  out  from  the  face  in 
a  natural  manner. 


40  CEA.YON   PORTRAITURE, 


THE  MOUTH. 


CSpHIS  is  one  of  the  important  features  of  the  face, 
^1  I  and  great  care  should  be  exercised  not  to  lose  the 

^;  expression  in  working  it  up. 
Firmness  and  strength  in  the  masculine  and  sweetness 
and  delicacy  in  the  feminine.  Do  not  make  a  hard  line 
through  the  lips,  but  begin  at  the  corners,  make  those  the 
strongest,  working  from  them  with  a  lighter  touch  to  the 
centre,  where  the  greatest  fullness  lies,  and  at  this  central 
point  there  is  generally  a  slight  curve,  which  must  be 
carefully  preserved.  Make  the  shadows,  half  tints,  and 
lights,  in  exact  imitation  of  the  original.  Avoid  all  hard 
outlines  in  the  lips,  by  working  up  to  the  outlines  very 
carefully ;  in  fact  there  is  not  a  single  line  in  the  whole 
face.  Seeming  lines  or  bounderies  are  caused  by  the  sharp 
approach  of  light  and  shade. 


IN  BLACK   AND  AVHITE.  41 


THE  FOREHEAD. 


05P  he  process  of  putting  in  the  shadows  in  the  forehead, 
^1  I  is  precisely  the  same  as  has  already  been  described ; 
^^  short  strokes,  slightly  curved  at  the  temples ;  clearing 
off  the  spots,  and  filling  up  the  large  lighter  spots,  until 
the  work  looks  clean  and  yet  moderately  open.  Soften 
the  hair  where  it  falls  upon  the  forehead,  or  where  it  joins 
the  face  about  the  temples.  Do  not  be  afraid  of  losing 
the  line  of  where  the  hair  commences,  or  the  forehead 
begins.  It  wants  to  be  lost.  It  must  be  soft  to  make  the 
picture  artistic  and  natural.  Generally  the  strongest 
light  in  any  picture  is  on  the  forehead. 

If  the  subject  should  be  that  of  an  elderly  face,  many 
wrinkles  will  be  noticed.  These  are  put  on  boldly  at  first 
with  the  paper  stomp  in  their  exact  position,  after  which 
soften  them  above  and  below,  with  a  clean  stomp,  and  if 
too  strong  lighten  them  with  a  finely  pointed  rubber. 


4A  CRAYON   PORTRAITURE, 

THE  FACE. 


C5r  HE  blending  of  the  values  in  the  face  should  now 
^1  J  receive  attention.  The  deepest  shades  should  not 
^i  be  carried  to  the  extreme  outline  of  tiie  face. 
There  is  always  a  reflected  light  which  will  escajie  the 
notice  of  the  beginner,  if  strict  attention  is  not  given. 

This  is  often  the  case  in  the.forehead  and  the  chin  as 
well  as  the  clieeks. 

Remember  there  must  be  no  distinct  or  abrupt  ending 
of  any  shadow,  each  one  mustbleud  off  gradually  into  the 
other,  or  in  the  high  light.  As  a  general  rule  the  high 
lights  should  not  be  left  with  the  pure  white  shade  of  the 
paper.  They  should  all  be  tinted,  although  so  lightly  it 
will  be  almost  impossible  to  decide  whether  they  liave  re- 
ceived any  tint  at  all.  Tiiere  are  many  half  tones  how- 
ever which  must  be  preserved.  No  special  instructions  are 
recjuired  in  regard  to  the  ears,  the  work  should  be  the  same 
as  describivi  for  the  other  features ;  preserve  the  form  and 
shape  of  the  shadows,  and  blend  to  give  softness  and 
roundness. 


IN  BLACK  AND  WHITE.  48 


FINISHING. 


C5fHE  final  finishing  touches  can  now  be  given.  Look 
Hi  j  the  work  over  carefully,  and  soften  all  the  outline^ 
^j;  or  outer  edges  of  every  part  of  the  picture.  Do  this 
with  the  small  paper  stomp,  fairly  clean.  Examine  all  the 
deeper  shades,  and  strengthen  all  that  may  seem  to  re- 
quire it,  or  lighten  such  as  may  be  too  dark. 

The  stomp  and  rubber  will  alone  be  required  for  this 
work.  It  would  be  well  to  rub  the  paper  stomp  on  the 
block  of  sand  paper  to  soften  it  slightly.  The  rubber 
should  also  be  trimmed  with  a  knife,  after  which  rub  off 
the  sharp  edges  on  the  sand  paper,  and  have  it  moderately 
sharp  at  the  point.  If  any  white  spots  are  noticeable  in 
any  of  the  shadows,  either  in  the  face,  drapery,  or  back- 
ground, fill  those  up  to  the  desired  tone  with  the  stomp. 
If  any  of  the  hatching  appears  too  broad  or  too  open,  fill 
that  up  slightly.  Take  out  any  desired  high  lights  in  the 
hair  with  the  rubber,  as  such  are  much  more  effective  than 
they  would  be  if  any  attempt  was  made  to  leave  them 
during  the  progress  of  working. 

Any  outline  that  appears  too  hard  or  cutting,  soften  it 


44  CRAYON  PORTRAITURE, 

by  working  upon  the  edges  a  little  beyond,  for  every  part 
must  be  round  and  soft.  There  must  also  be  strengtli  as 
well  as  softness ;  and  color  of  the  eyes  or  hair,  can  alone 
be  represented  by  light  and  shade. 

It  is  these  finishing  touches  which  will,  in  a  great 
measure,  give  to  the  portrait  its  life  and  beauty.  Study 
your  picture  from  a  distance,  and  note  when  a  few  touches 
will  improve  its  appearance.  Examine  the  drapery,  the 
high  lights  on  the  collar,  or  the  lace,  clear  up  any  places 
that  may  have  become  rubbed,  and  leave  no  spots  or  specks 
to  mar  the  clear  and  even  effect  of  the  work.  These  lit- 
tle touches  may  seem  insignificant,  but  they  will  greatly 
enhance  its  value. 

In  conclusion,  remember  that  skill  can  only  be  acquired 
by  continued  practice.  Be  willing  to  spoil  several  pictures 
if  necessary,  to  acquire  the  art  at  last.  Consider  it  a  neces- 
sity to  learn  to  draw.  In  "  Hunt's  Talks  on  Art,"  he  says : 
**  Any  one  who  can  make  the  letter  D,  can  learn  to  draw. 
Learning  to  draw  is  learning  tlie  grammar  of  a  language." 
Study  the  faces  upon  the  street,  note  the  shadows  and 
high  lights,  and  thus  become  familiar  with  tlie  luunan 
features,  llead  these  instructions  over  carefully  and 
studiously,  and  follow  them  step  by  step,  for  no  amount  of 
labor  is  too  great  to  accomplish  the  object  desired. 

It  might  be  well  to  advise  the  student  to  make  several 


IN  BLACK  AND  WHITE. 


45 


outlines  of  the  same  subject.  In  the  first  one  put  in  the 
values,  making  them  comparatively  clean,  and  blending 
the  edges  off  upon  the  high  lights.  Leave  it  in  this  un- 
finished state. 

In  the  second,  put  in  the  same  values,  strengthening  and 
modeling  them,  to  give  the  roundness  and  form.  The 
third  and  fourth  should  be  carried  each  one  a  little  farther 
toward  completion,  and  the  last  one  may  be  finished  in  all 
its  details.  Hang  these  up  side  by  side  in  the  order  in 
which  they  come,  and  they  will  be  found  of  great  practical 
value,  as  a  key  from  which  to  obtain  such  knowledge  as 
may  be  desired ;  while  the  practice  itself  will  enable  you 
to  use  the  stomps  with  greater  freedom. 


46  CRAYON   PORTRAITURE. 

POINT  WORK. 


'ANY  artists  do  not  use  the  point  in  finishing  a 
crayon  portrait,  and  even  such  as  do  employ  it, 
^nearly  all  have  a  method  peculiarly  their  own. 
In  all  cases  however  it  should  be  done  with  a  long  finely 
pointed  crayon,  very  lightly. 

It  is  often  used  in  a  gliding  motion  in  different  directions, 
80  lightly  and  so  openly  that  the  grain  of  the  paper  only 
catches  the  crayon,  but  great  care  must  be  taken  to  pre- 
serve the  evenness  of  the  tone,  leaving  no  spots  that  are 
darker  than  the  others.  Again  a  very  fine  effect  is  pro- 
duced by  lightly  hatching  the  face,  after  the  manner  of 
using  the  stomp,  carving  the  strokes  in  the  direction  of 
the  fibers  of  the  flesh  ;  namely,  horizontal  on  the  forehead, 
perpendicular  on  the  nose,  and  circular  around  the  eyes, 
mouth  and  general  contour  of  the  face.  All  sui.'h  strokes 
ehould  begin  lightly,  and  end  lightly,  and  should  be  regular 
and  parallel  to  each  other,  crossing  at  acute  angles.  But 
all  point  work  requires  a  vast  amount  of  practice,  and  it 
would  be  best  for  the  student  to  become  proficient  in 
etomp  work,  before  attempting  the  use  of  the  point  By 
proper  use  of  the  paper  stomp  and  rubber,  an  effect  can  be 
produced  almost  if  not  quite  equal  to  the  point 


IN  BLACK  AND*  WHITE.  47 


FULL  LENGTH  PORTRAITS. 


wg^ULL  length  portraiture  is  a  different  branch  of 
/l||  work,  and  requires  more  study.  Yet  it  is  generally 
If  the  desire  of  every  artist  who  acquires  skill  in  por- 
trait work,  to  bo  able  to  execute  a  fuller  half  length  figure. 

The  first  requirement  will  be  to  draw  the  enlargement. 
A  Solar  Print  may  be  obtained  and  used  to  trace  the  out- 
line, but  these  are  quite  expensive.  The  system  of  squares 
described  in  this  Avork  is  an  excellent  one.  The  outlines 
having  been  obtained,  transfer  it  to  the  stretcher  according 
to  the  directions  heretofore  given,  and  preserve  them  with 
the  pai^er  stomp.  A  large,  soft  rolled,  chamois  stomp 
will  be  the  most  convenient  for  the  drapery  and  back- 
ground, in  putting  in  the  values,  but  in  finishing  and 
blending,  the  paper  stomp  may  again  be  employed. 

The  chamois  rolled  up  in  a  little  pad  is  often  used  in 
putting  in  these  values,  as  greater  rapidity  is  the  result. 
Care  should  be  exercised  however  not  to  rub  too  hard,  or 
the  effect  would  be  muddy,  and  also  use  it  with  a  circular 
motion.     White  dresses  are  generally  worked  up  entirely 


48  CRAYON   PORTRAITURE, 

with  a  small  piece  of  chamois,  and  the  broad  surface  of 
the  rubber,  to  take  out  the  high  lights.  Avoid  details  in 
lace  work,  and  do  not  use  white  crayon,  the  white  paper  is 
the  most  effective. 

The  same  rules  may  be  applied  to  head  dresses,  bonnets, 
feathers,  or  flowers.  These  are  all  worked  up  in  the  same 
manner,  and  the  rubber  is  one  of  the  most  important 
factors  for  the  high  lights. 

Heavy  robes  of  velvet  should  first  be  made  with  the 
chamois  pad,  after  which  apply  tlie  stick  of  No.  3  crayon, 
putting  it  on  in  a  solid  mass,  and  then  blending  it  with 
the  fingers.  In  such  kind  of  drapery,  the  white  crayon 
may  be  applied  to  the  high  lights  in  the  same  manner  as 
the  black,  and  using  the  finger  to  blend  it  with  the  black, 
to  form  the  half  tones  in  modeling,  after  the  manner  of 
Pastel  work.  In  full  length  portraits  more  of  the  details 
are  worked  up,  such  as  necklaces,  chains,  or  ornaments  on 
the  dress,  and  the  paper  stomp  will  here  be  found  the 
most  useful. 


IN   BLACK  AND  WHITE.  49 


SCENIC  BACKGROUNDS. 


4ULL  length  portraits  require  as  a  general  rule  a 
scenic  background.  Yet  care  must  be  exercised  that 
the  figure  must  be  the  principal  object,  and  not  the 
background.  It  should  be  quiet  and  unobtrusive,  receding 
far  behind  the  head  of  the  portrait.  Any  objects  that  may 
be  introduced  should  be  shadowy  and  indistinct.  If  a 
landscape  background  is  desired,  the  trees  and  shrubbery 
should  be  light  and  indistinct,  excepting  in  the  immediate 
foreground,  where  a  little  greater  attention  may  be  given 
to  the  details.  Interiors  are  sometimes  introduced  with 
pieces  of  furniture  or  draj^ery.  Such  may  be  worked  up 
much  darker,  after  the  manner  described  in  the  drapery  of 
the  figure,  with  the  crayon  stick  and  fingers. 

Stone  columns  are  worked  with  the  paper  stomp  and 
rubber,  gi^ing  it  the  appearance  of  rough  stone,  by  putting 
on  the  color  in  little  rough  dashes  or  spots,  and  taking  out 
the  high  lights  with  the  rubber  in  the  same  manner. 
4 


50  CBAYON   PORTRAITURE, 

There  is  no  end  to  the  variety  of  scenic  backgrounds, 
and  it  would  be  impossible  to  describe  the  scenes  or  objects 
that  may  be  introduced  which  might  be  in  harmony  with 
the  subject.  Such  must  be  left  to  the  taste  and  skill  of 
the  artist.  They  may  go  through  all  the  possible  grada- 
tions from  a  shadow  on  a  wall,  to  the  depth  and  obscurity 
surrounding  a  figure  standing  in  an  open  door  or  window. 

The  ouly  instructions  to  be  given  may  be  summed  up  in 
these  words ;  preserve  the  same  delicacy  and  softness  that 
is  described  in  working  up  the  figure ;  avoid  all  hard  lines 
or  abrupt  endings,  and  have  the  entire  background  sub- 
servient to  the  figure. 


IN  BLACK  AND  WHITE.  51 


TO  FIX  CRAYON  DRAWINGS. 


(\P^ERY  much  has  already  been  written  upon  this 
^\-M  subject,  and  there  is  great  danger  in  any  and  all  the 
"j  methods.  The  safer  plan  is  to  leave  the  work  in  its 
simple  state,  and  protect  it  by  a  frame  and  glass.  Many 
of  the  methods  of  fixing  result  in  a  flattening  of  the  tones 
and  high  lights,  thus  destroying  its  brilliancy  and  depth, 
often  making  it  necessary  to  retouch  many  parts  of  the 
picture  to  give  it  additional  force.  But  if  found  desirable 
in  order  to  preserve  a  number  of  drawings,  the  "  Fixative," 
for  sale  at  the  Art  Stores  will  be  found  the  most  convenient. 


62  CRA.TON   PORTRAITURE, 


GENERAL  REMARKS. 


^  ASTER  the  foregoing  instructions  in  their  entirety. 


and  follow  them  carefully.  The  practice  thus 
^Oderived  will  train  the  hand  to  follow  the  dictation 
of  the  eye. 

To  write  or  copy  any  written  language  the  hand  must 
first  be  taught  to  follow  the  forms  of  each  letter,  and  the 
same  may  be  said  to  be  true  in  drawing ;  the  practice  will 
enable  the  hand  to  make  the  necessary  strokes  without 
any  hesitation  or  uncertainty.  The  object  of  this  treatise 
has  been  to  give  practical  instruction,  in  as  simple  a 
manner  as  possible,  and  it  now  remains  for  the  student  to 
make  the  best  use  of  the  information  given. 

Practice  and  jierseverance  will  enable  any  one  of  average 
Intelligence,  combined  with  a  love  for  the  art,  to  obtain 
excellence  in  executing  natural  and  life-like  portraits. 


IN  BLA.CK  AND   WHITE,  53 


LANDSCAPE  DRAWING. 


•^TT  is  presumed  that  many  who  read  the  foregoing 
Tl  P^'ges,  and  put  into  practice  the  instruction  given, 
^jT  will  naturally  feel  iucUned  to  take  an  occasional 
excursion  for  pleasure,  and  sail  away  from  the  imitative 
art,  or  the  simple  copying  from  drawings  and  photographs, 
and  look  around  for  natural  objects  to  reproduce  upon 
the  sketch  book.  The  principles  of  landscape  or  object 
drawing  are  the  same  as  described  for  the  human  face. 
It  must  have  first  the  outline,  and  then  light  and  shade ; 
the  outline  gives  the  form  and  shape,  while  the  light  and 
shade  give  the  roundness  and  strength.  Sketch  the  outline 
boldly,  yet  as  accurately  as  possible,  with  a  lead  pencil,  or 
better  still  with  a  piece  of  charcoal.  Do  not  take  hold  near 
the  point,  but  at  the  farther  end,  very  loosely,  to  give  perfect 
freedom  to  the  arm  and  hand.  Charcoal  can  be  very  easily 
removed  from  the  paper  by  using  a  soft  piece  of  ilannel, 
therefore  make  all  corrections  necessary ;  when  complete. 


54  CRA.YON   PORTRAITURE, 

save  tlieni  by  going  over  them  lightly  with  the  paper  stomp. 
NexL  put  in  the  masses  or  values.  This  can  be  done 
with  the  charcoal  if  desired,  and  strengthened  with  the 
stomp  in  the  same  manner  described  in  puttuig  in  the 
values  in  the  human  face.  I^eave  all  details  for  the  finish- 
ing. For  sky  or  clouds,  use  the  chamois  pad,  or  a  soft 
chamois  stomp ;  the  flat  tints  of  trees  or  mountains  the 
same. 

After  putting  in  all  the  values,  the  detail  work  may  com- 
mence. Use  the  small  paper  stomps  for  all  such,  but  very 
little  detail  must  be  put  into  a  landscai^e,  except  the 
immediate  foreground.  All  outlines  must  be  soft  and  indis- 
tinct. The  foliage  of  trees  can  be  nuide  very  effective 
with  the  stomp  and  rubber.  The  point  can  be  used  if 
desired  in  cleaning  up  the  spotty  places,  or  the  whole 
picture  worked  over  with  the  point,  in  short,  regular,  blunt, 
but  soft  lines,  thus  giving  the  inclinations  of  mountain 
slopes,  or  rugged  rocks.  But  a  much  softer  effect  will  be 
produced  with  the  stomp,  exceptmg  in  very  deep  or  rich 
shadows ;  then  use  the  point,  and  cross  hatch  to  give  the 
necessary  strength.  But  after  all  the  rules  or  instructions 
laid  down  in  this  book  were  formed  from  practice,  and 
although  the  student  may  feel  content  to  receive  this 
instruction  from  another,  yet  the  Ijest  method,  and  the 
most  valuable  instruction,  is  I'HACTICE. 


IN   BLACK   AND   AVHITE.  66 


CHARCOAL  DRAWING. 


C5Jr  HE  use  of  charcoal  for  landscape  or  figure  drawing 
^m\  J  is  becoming  more  and  more  popular  every  year.  Its 
^C^  use  is  easy  to  learn,  and  the  rosiilts  are  very  satis- 
f  cictory.  It  is  one  of  the  modern  arts ;  the  old  masters 
employed  it  for  sketching  principally,  although  there  are 
in  existence  a  few  examples  in  simple  charcoal. 

The  paper  is  of  a  different  quality  or  grain  from  that 
used  on  crayon  work.  It  should  be  of  a  yellow  white  tint, 
and  a  fine  and  even  grain.  If  too  rough  the  charcoal  will 
catch  too  strongly,  while  on  the  other  hand  if  it  is  too 
smooth,  it  will  not  produce  a  good  shading.  Like  paj^er 
for  crayon  work,  it  should  be  stretched.  The  materials 
necessary  are  the  small  paper  stomps,  a  chamois  stomp, 
linen  and  woolen  rags,  bread  crumbs,  and  the  rubber. 
The  sticks  of  charcoal  considered  the  best  are  the  French, 
either  the  Contd  or  Rouget.  There  are  two  methods,  the 
first  when  the  stomp  is  used  throughout  the  entire  draw- 
ing ;  the  other  by  i  sing  the  sticks  sharply  pointed,  and 
cross  hatching,  discarding  the  stomp  entirely. 


oO  CRAYON   PORTRAITUIiE, 

The  former  is  the  most  popular,  and  will  make  the 
softer  picture.  Take  one  of  the  larger  sticks,  cut  the  end 
flat  and  broad,  and  commencing  ou  tlie  top  of  the  stretcher, 
make  an  even  and  regular  tone  over  the  whole  surface  of 
the  paper.  Now  take  the  first  three  fingers  of  the  right 
hand,  and  commencing  at  the  bottom,  spread  the  charcoal 
over  the  paper,  going  from  right  to  left,  until  the  whole 
is  one  flat  tone,  resembling  a  wash  of  india  ink. 

If  this  leaves  the  tone  too  dark,  go  over  it  with  the 
clean  linen  rag,  softly ;  this  operation  of  putting  on  the 
charcoal  and  using  the  fingers  or  rag,  may  be  repeated 
until  the  desired  depth  of  tone  is  produced. 

The  next  step  is  to  put  in  the  deeper  tones  or  masses 
with  the  charcoal  stick,  and  rubbing  it  down  witli  the 
stomp.  This  process  may  often  have  to  be  repeated  several 
times  to  get  sufKcient  depth.  Tiie  liigh  lights  are  obtained 
by  using  the  woolen  rag  for  the  half  toubs,  and  the  rubber 
or  bread  crumbs  for  the  stronger  lights.  Work  up  details 
afterward  with  a  piece  of  finely  pointed  charcoal. 

Although  the  tones  of  charcoal  are  more  opaque  than 
crayon,  yet  tJiey  possess  a  velvety  richness  and  softness 
which  crayon  will  not  give,  and  for  landscape  drawing  it 
is  especially  valuable.  It  has  other  advantages  over  oil  or 
water  colors  ;  Ijeiug  dry  it  necessitates  no  delays,  and  there- 
fore a  landscaj)e  can  be  drawn  with  wonderful  rapidity. 


IN  BLACK  AND  WHITE.  57 

Any  part  that  is  unsatisfactory  can  be  easily  effaced  ;  in 
fact  the  drawing  may  be  a  succession  of  alterations, 
changes,  modifications  of  tone  or  shade,  until  it  meets 
approval.  It  is  often  used  in  portrait  work,  and  especially 
is  it  adapted  for  the  portraits  of  children,  where  delicacy 
and  softness  are  essential. 

The  entire  process  of  working  in  charcoal  is  so  simple 
that  scarcely  any  instructions  are  necessary.  All  charcoal 
drawings  must  be  fixed,  and  if  care  is  used  the  most  con- 
venient method  is  direct  fixation.  This  Fixatif  can  be 
obtained  at  the  Art  Stores,  and  is  used  by  blowing  a  fine 
spray  over  the  drawing,  as  perfumes  are  diffused  through 
an  atomizer.  It  may  be  necessary  to  rei3eat  the  operation 
several  times,  waiting  each  time  for  the  paper  to  dry. 
Charcoal  drawing,  it  should  be  remembered,  must  only 
render  effects,  not  details. 

The  amateur  will  find  this  the  most  difficult  lesson  to 
learn.  To  illustrate  this  point  we  quote  the  following  from 
a  celebrated  teacher.  "  You  see  a  beautiful  sunset,  and  a 
barn  comes  into  your  picture.  Will  you  grasp  the  whole 
at  once,  in  a  grand  sweep  of  broad  sky,  and  a  broad  mass 
of  dark  building,  or  will  you  stop  to  draw  in  all  the  shingles 
on  the  barn,  perhaps  even  the  nails  on  each  shingle  ;  pos- 
sibly the  shady  side  of  each  nail?  Your  fine  sunset  is  all 
gone  while  you  are  doing  this."    Forget  the  little  things 


58  CRAYON   PORTRAITURE, 

iu  a  picture,  and  try  to  see  only  tlie  grand  broad  masses, 
and  put  off  all  details  until  the  last:  and  if  it  should 
happen  that  every  feather  on  a  bird  was  not  in  exact  posi- 
tion, or  one  leaf  lacking  on  a  tree,  it  will  not  be  noticed. 
With  a  paper  stomp,  a  piece  of  charcoal,  and  a  piece  of 
rubber,  a  picture  can  be  made,  and  a  l^eautiful  one  too, 
without  a  line  or  scarcely  a  bit  of  detail  in  it. 

In  closing  this  treatise  it  may  be  well  to  say,  do  not 
become  discouraged  after  the  first  few  efforts ;  if  the  desire 
to  learn  to  draw  is  strong,  rest  assured  success  will  come 
by  patient  practice.  Do  not  confine  yourself  to  the  in- 
structions contained  in  this  work.  Do  not  be  afraid  to  try 
experiments,  and  see  what  the  effects  may  be.  In  this  way 
cue's  own  individuality  will  show  in  the  results,  and  such 
results  will  be  valuable  because  thev  are  orifirinal. 


021 


IN  BLACK  AND  WHITE.  59 


CONCLUSION. 


(T  nicay  hardly  seem  necessary  to  add  to  this  treatise 
anything  more  in  the  way  of  instruction.  Doubtless 
many  who  read  these  pages  will  undertake  the  study 
of  Portraiture  as  an  amusement  or  recreation  simply. 
But  the  author  would  advise  the  student  to  make  it  a 
serious  study,  and  not  rest  content  after  being  able  to  exe- 
cute a  moderately  fair  portrait.  Every  year  shows  an 
increasing  interest  in  all  Art  matters,  and  Portraiture 
should  be  considered  in  the  light  of  an  accomplishment. 
The  fact  that  others  are  far  ahead,  should  only  act  as 
an  incentive  for  greater  labor  and  study. 

The  student  should  bear  in  mind  there  are  two  disthict 
lessons  to  be  learned  in  following  the  instructions  here 
given ;  first  the  method  of  work,  or  the  manner  of  putting 
the  crayon  upon  the  paper ;  second,  to  preserve  the  exact 
likeness  of  the  original.  Therefore  study  the  subject 
thoroughly  and  carefully ;  this  is  very  essential  in  obtain- 


(iO 


CRAYON   PORTRAITURE. 


ing  a  correct  and  pleasing  likeness.  If  this  has  been 
attended  to  in  the  early  stages  of  the  work  the  likeness 
will  not  be  difficult  of  attainment.  The  object  and  aim 
of  this  treatise  has  been  to  present  the  instruction  in  the 
simplest  manner  possible,  knowing  full  well  that  the 
smallest  details  often  prove  the  most  valuable  to  the 
student. 


IN  BLACK  AND  WHITE.  61 


^■/\rbIsbiG    Prinbing.t>^ 


7|HE  dEWELERS'  dBUR^L, 

57    Wasfjingbop    SbrcGh. 

GHISjt^GO. 


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UCLA-Art  Library 

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